"Strike Up the Band" is another teaming of Mickey Rooney and Judy
Garland who are of course put in the position of putting on a show to
save a band, a school program for children, a school from closing, etc.
You name it. It could be any of those things. Of all the movie musicals
that were made in their heyday, these were the most bizarre, meaning
while enjoyable and with good music still somewhat beyond belief. They
always seemed to defy the odds, getting what they want, albeit with
some obstacles along the way. This outing though is not quite as good
as others, due to some of the supporting actors' not so subtle acting.
Less is more is not an adage used here. In fact, there's nothing subtle
here. Ann Shoemaker does give good support as his mother, with a nice
speech about being a great man. But the length, its feeling of
self-importance, and some awkward moments of corniness hurt its
effectiveness. It is very enjoyable with great musical numbers for
Mickey and Judy; but there's just so much of everything here, making it
two whole hours, including a over-the-top tongue-in-cheek
save-the-damsel production in the middle of the movie, lasting 15
minutes itself. I'm sure you'll enjoy it for what it is, but
afterwards, you'll feel like you had a workout.

Charlie Chaplin loses his tramp personality but still keeps some
qualities in this dark broad comedy of murders, "Monsieur Verdoux." It
concerns a gentleman who had worked for years in the banking business
until the crash of the late 1920s and then he went into a life of crime
to make ends meet, for his wife and son. The film fades in on his
tombstone. His narration tells us all this information and tells us the
following story is history. It's hard to give an unbiased review of a
film I have seen more times than I can count. It costars Martha Raye in
an unforgettable role, Isobel Elsom in one of her best movie roles, and
the gifted William Frawley. But all of the supporting cast are
excellent, especially Marilyn Nash as a young lady he helps and Almira
Sessions, who is part of a family trying to find their doomed sister
Thelma Varney, who fell victim to Chaplin's mercenary plans. Thelma is
never seen. Chaplin has a wife or lover in every province or region of
France, and when he needs immediate ready cash, it's off to another
victim. We see Lydia as one. I could go on and on about the social
significance and symbolism of this film, but it's too much to get into
right now. Suffice it to say, that Chaplin was like Welles (who sold
him the idea, inspired by a true criminal), Hitchcock and other
directors of his time. Everything you see on the screen was
deliberately planned down to the minutest details. He wrote and
directed this all by himself, just like all of his other films. The
pace, shadows, the tone of voice, the editing, the music which he
composed  all these come together to form a suspenseful and very funny
film, which was banned and panned at the time, even making him more of
an outcast than he already was. He had already been considered
anti-American for his political views. Despite the off-putting, and
some say anti-God, content, most viewers will have to admit this is a
masterpiece in every way possible. I get more out of it every time I
see it. If you've never seen Charlie Chaplin's "Monsieur Verdoux," then
this should be a real treat. Expect nothing like "The Circus" and his
other silent films and this will blow your mind. As they say, there's
nothing like discovering a great film for the first time. I wish I was
discovering this for the first time. But I keep finding more layers and
meanings in each viewing I have of Chaplin's masterpiece, "Monsieur
Verdoux."

Based on an Irwin Shaw story, this film revolves around college pals
Sam Waterston and Robie Porter on their summer trip through Europe. In
their travels they meet Charlotte Rampling, who they invite to come
with them, but on condition she pays her own way. Also, the guys have a
pact that they will not let her come between their friendship. From
landmarks to landscapes on their trek, we see them laugh, reminisce,
and contemplate their own lives. We see chapels and beaches, as their
summer comes to life. "Three" is a very natural, relaxing, and, I don't
think I've described a film this way before, sexy. The exotic locales
made me think of "A Little Romance" with Laurence Olivier." This is the
sort of film that stays with you in a very haunting sort of way. Its
stillness and romanticism is of an another era, a yesteryear. But it's
also very real. You'd swear they weren't acting at all. A very
interesting turn of events transpires, as their trip comes to an end,
the kind of ending that makes you want to see it again. It makes you
wonder if you've actually been paying attention. Its aloofness, a
feeling it's short of reaching keeps you interested in the three lives.
I had never seen Robie Porter in a film before this. He looks like a
cross between George Segal and Dennis Quaid. For a very mature and
memorable trip through Europe, take time with these "Three" as they
learn about themselves, while taking in a little of the world.

The spoof of all spoofs, the parody of all parodies  is "Fresno."
Inspired by the characters and outrageousness of "Dynasty,' "Falcon
Crest," and "Dallas," "Fresno" is a tale of murder, deception, lust
infused with comedy. Carol Burnett, Dabney Coleman, Teri Garr, Gregory
Harrison and Charles Grodin are the main cast of this hilarious
showcase. There's so much involved in this story, I don't know where to
begin. Carol Burnett is Charlotte Kensington and is rich, and is in the
raisin business. They have a novel idea, a secret weapon, but her enemy
Dabney Coleman wants to destroy her. Part of the back story is the
mysterious death of Carol's husband, Yancey which happened years ago.
Charles Grodin's character, her son, Kane, is obviously a takeoff of
J.R. Ewing and Charles is absolutely great in his role. He almost
steals the show from everyone else, but everyone is given equal time to
shine. Unfortunately they don't really do much with Tallon, played by
Teri Garr and is Charles's wife. There's a gay son and also an adopted
daughter, played especially well by Valerie Mahaffey. Bill Paxton and
Teresa Ganzel are simple country folk and married, she a maid in the
family's household but who has dreams of being a country singer. As you
can see, it's practically a virtual who's who of 1980s TV. And, Gregory
owns a shirt, which he carries over his shoulder. But he's shirtless
throughout most of the time, even in places you wouldn't expect. He
shows up with an agenda of his own. I am barely scratching the surface
with all this, but I can't really describe the experience of seeing all
the bizarre goofiness of "Fresno." You can see this on Youtube, so find
"Fresno" and enjoy the twisted characters in all their wonderful glory.

0 out of 1 people found the following review useful:Very Long Musical with Show-Stopping Streisand Numbers, 24 June 2015

Barbra Streisand, Walter Matthau and Michael Crawford star in this film
adaptation of the hit Broadway musical story of matchmaker Dolly Levi.
Dolly makes a friend wherever she goes. Everyone who knows her loves
her. She is in the business of being in everyone else's business. Want
your own business? Wanna learn to dance? She has the connections for
you and she wants to hook up with someone she knows. She may even get
hooked up with someone by film's end. This is a very upbeat and lively
film with great musical numbers. In fact, I think Streisand was hired
more for her lungs than her being a true representative of Dolly Levi.
I think I read some felt she was miscast. But she sure can sing. In
fact her singing and some of the humorous lines are the best things
about the film. While the film won some Oscars, it feels rather
tiresome by the end of the picture. I think what hurts the most are too
many dancing numbers that don't add much punch and also the fact that
some of the supporting characters are rather bland and not that
interesting. You would think this is an essential to movie musicals,
but this could have been better and shorter. An added plus is the
presence of Louis Armstrong singing "Hello, Dolly." If you love
musicals, you'll want to see this; but you may be worn out afterwards.

Owen Wilson and Vince Vaughn are wedding crashers. They crash weddings
to score with women. They crash and keep crashing. It's down to a
science with rules and everything - what to do and and what not to do.
They attend the wedding of Christopher Walken and Jane Seymour's
daughter. What they don't count on is Owen getting caught by the love
bug with another daughter, played by Rachel McAdams or Vince meeting
another daughter who's a "needy clinger/psycho," played by Isla Fisher.
And, Vince has bad luck in getting hurt throughout the film, courtesy
of Bradley Cooper, who is engaged to Rachel! A foul-mouthed grandma, a
gay son, and a tough-as-nails butler are all part of this kooky family,
and Jane has the hots for Owen. The film is more like a roller-coaster
ride with highs and lows than big laughs, though. The second half sags
with more talking than outrageousness. This film really belongs to
Vince Vaughn, as he's really good and Will Ferrell has a bit near the
end to pick up the pace. All in all, it's raunchy adult fun that is
good, but not as fulfilling as "The Forty-Year-Old Virgin."

Steve Carrell is a middle-aged man who works in the stockroom in an
electronic store, who rides a bike to work, and who has never had sex
with a woman. It just never happened. He probably only half-heartedly
tried, but was always awkward with women and never felt secure enough
to really be the aggressive type. So I gather from his disposition.
Then he meets Catherine Keener, who has an eBay store, to sell your
items online! Is she the one? I am reviewing this movie, despite the
already numerous reviews, to add my two cents and to encourage people
to see this really funny movie, which started the raunchy film craze
such as "Superbad, "Knocked Up," "Forgetting Sarah Marshall," and "I
Love You, Man." (Not counting the "American Pie" film series.) "Wedding
Crashers" was made around the same time as "Virgin," I believe. But
while these other films may have their defenders and fans, none of them
can claim to have the heart this film does, and the presence of the
disarmingly funny Steve Carrell helps. Granted I did like "I Love You,
Man," too, but this film just has everything right with not a single
false note, and the performances by Catherine Keener, Seth Rogen, Paul
Rudd, Jane Lynch and Elizabeth Banks were right on track and made the
whole film complete. I don't mean to repeat myself, but this film is
just so genuinely funny. Some may be turned off by its unChristianlike
language, but other attempts to replicate this success of the film
really failed in my opinion. I give it a 10 for the best time you can
find in movies where the adults are behaving badly.

Edmond O'Brien and Frank Lovejoy star in this taut little thriller
about a couple of guys on a fishing trip, when they pick up a
hitchhiker, despite the fact there's a escaped inmate loose. We know
it, when it happens by the shadows, the music score, the sharp
instincts of director Ida Lupino. In fact, despite the fact Ms. Ida
Lupino directed several other films, this is considered to her best.
This has everything a film noir should have: strong characters, pace,
the great use of black and white cinematography, suspense, and a scary
bad guy. A femme fatale is good, but not necessarily needed, as there
is not one in sight here. But who has time to think about that! With a
guy in the back seat ready to slit your throat, this delivers a wallop
of intense emotions and activity. Sure, there's a lot of talking
between the three men, but you're never bored. The only critique is
that the climax happens so quickly and rather matter-of-factly. Then
it's over, the end. You'll be entertained by this little but loud film,
directed by actress Ida Lupino.

Elizabeth Montgomery, trying to shed her "Samantha Stevens" image,
stars in this story of a journalist in New York City who judges
rape/assault victims for bringing it on themselves, being in the wrong
place at the wrong time, by perhaps wearing provocative clothes. She
may not say it in so many words, but it's in her whole manner and
attitude. Coworkers tell her she's a hard person, being raised with a
privileged and easy childhood. Fast forward to her getting out of her
cab late one night, fumbling for her keys at the door of her poorly lit
apartment building. She is jumped from behind, as soon as she's in, and
beaten mercilessly by a group of two or three black boys, though only
one did most of the beating. Through her depression and recovery, she
becomes prejudiced of all blacks. When a news reporter gets an
interview from her, her new views are aired on TV, getting her in hot
water. Though this TV movie may seem to be biting off more than it can
chew and most of the supporting players are fair to middling in their
range, the whole treatment of the subject matter was good and of course
Ms. Montgomery gives a very courageous and thoughtful performance. Her
presence gives this otherwise predictable TV movie an added boost,
keeping the viewers' interest with her down-to-earth disposition. Will
she and her son leave NYC? Will she learn there's a bully behind every
corner and in all walks of life? "Act of Violence" is an ambitious and
earnest look at life in NYC that's still pertinent today as it was in
the late 1970s.

Mia Farrow lives in the world of make-believe, the world of old
Hollywood. Her neglectful husband, played by Danny Aiello, doesn't help
at all. She watches movies every chance she gets, even watching the
same film over and over. The images blend, the thin line thins. In yet
another viewing of an old musical/adventure tale, one of the
characters, played by Jeff Daniels, turns to her and starts talking to
her, even coming out of the celluloid projection. He has come to life.
What's so extraordinary is that others see this, too! It's not like
only Mia can see him. Jeff's real existence creates havoc. People want
their money back. The movie moguls in Hollywood get wind of it, hoping
against hope for no lawsuit. But most importantly, the cast left behind
has nothing to do because they can't go to the next scene without him.
But Jeff Daniels doesn't want to go back in the film. He is having too
good a time with Mia. Jeff Daniels plays two roles in this Woody Allen
film. Don't get confused. The character who jumped out of the movie
screen and the actor who played him, who is asked to go this town to
get him to go back into the film. Even if "The Purple Rose of Cairo"
contains flaws and is not perfect, it proves one thing  Woody Allen
can really tell a tale, can really wrap you into a world of fantasy. He
is a master of his craft, as he spins a web of tall tales come to life
with zany results. Van Johnson has a role in the film's film that goes
on and on. This has much ingenuity and charm, and Jeff Daniels may have
his best movie role/roles of his career with this experience. But what
becomes of the movie character Jeff? More importantly,what becomes of
Mia! Is she destined to a part of the theater's atmosphere, to live
there, to breathe there? Does she get a chance to live, to branch out,
to be her real self? Sometimes what we want can be detriment to (or be
in direct opposite to) what we need. The real world vs. fantasy! Only
the purple rose knows .